Self-portrait. Reuven Rubin (1893-1974). Oil on canvas on masonite. Painted in 1924. 90.8 x 63.5cm.

‘Madonna with pomegranate’, 1960 - Reuven Rubin (1893–1974)

Reuven Rubin "Red Horses" This Artwork is: NEW Limited Edition (380/990) Serigraph Custom framed in a bronze colored frame Double matted with cream and brown colors Framed Size : 30" x 36" Image Size: 17" x 22" Hanging hardware included on back of frame Printed in Israel- Has official Reuven Rubin Seal next to the limited edition number Check out our store for other great Reuven Rubin images! Looking for other framing choices? Contact us! THE FRAMING ALONE IS WORTH OVER $300! Reuven Rubin (1974 - 1893) was one of the pioneers of Israeli art. He was born in the Romanian city of Glatt, and immigrated to Israel in 1912. He studied at the Bezalel Academy in Jerusalem and in 1913 traveled to Paris and studied at the Ecole des Beaux Arts. Later he served as Israel's first ambassador to Romania. Rubin’s work is characterized by radiant colors and a romantic style that was typical of the pioneering spirit of the early 1920s. Rubin was the first Israeli artist to win international recognition. In 1932, the Tel Aviv Museum was opened with a solo exhibition of his paintings. Rubin won both the Dizengoff Prize (1964) and Israel Prize (1973).

Young Reuven Zelicovici 1893-1974 was born in Galati (east Romania) and spent his childhood and adolescence in Falticeni (in Bukovina, north Romania). The family may have been poor, but they certainly had a horse and cart. Thus the lad was able to travel around. He was exposed to 15th and C16th art in the local monasteries and via the icons in the Bucharest Museum. Inspired by the frescoes, which were on the outside of the Bukovina churches as well as inside, Zelicovici adopted a didactic style himself. Sucevita Monastery, exterior frescoes, Romania Falticeni was the place where people thought that Zelicovici used the brush with a "godly grace". Yet it was a city with a small population, so I wonder why Falticeni seemed to have attracted a number of national or international celebrities, who were either born or who settled there: writers, theatre artists, painters and scientists. Did Reuven Zelicovici dream of being famous, as he might have been in the more important cities of Bucharest or Iassy? On leaving Romania in 1912, Zelicovici became Rubin; he studied briefly at Bezalel Academy of Arts in Jerusalem. Then he moved for some years to Paris, studying at Ecole des Beaux Arts and Academie Colarossi. Plus he visited Italy. Some naive works from that era survive eg Houses of Tel Aviv 1912 which is in the Israel Museum. In 1916, he returned to Falticeni, missing his family and home town. Still unsettled, Rubin went in 1920 to New York, where his work was noticed by Alfred Stieglitz. With the support of this important gallery owner, Rubin had his first one-man show at the Anderson Gallery that year, a large and successful exhibition. The painter met a young woman called Esther on the ship going back to Israel; there may have been a large age difference between them because her parents were sceptical about the union. However they married and had children, and were apparently very happy all their life. In 1922 the Romanian-educated and French-trained Rubin finally settled in Israel and opened his Tel Aviv studio. That same year he exhibited in the first art exhibitions in Jerusalem, when he was 29. A collection of woodcuts entitled the God Seekers was published in 1923 and he painted a startling self portrait 1923. The maritime nature of his home and studio was very clear. As was his professional position in society as an artist. Rubin, Self portrait, 1923, Israel Museum Jerusalem His 1924 exhibit was the first one-man show in Jerusalem; his 1932 one-man show launched the Tel Aviv Art Museum. He was appointed chairman of the Association of Palestine’s Painters & Sculptors. Perhaps Rubin wasn’t at the very centre of the Bezalel movement, but he was gaining a reputation and influence as an important modern painter. Although academically trained, Rubin's energetic depiction of a Fisherman 1922 looks naïve. It was a reflection of the artist's admiration for the hard working Arab and Jewish inhabitants of the country. Perhaps he loved their close, harmonious ties to the unspoiled world of nature, on land and sea. The bond between Arabs and Jews, and their animals, was often a motif found in Rubin's works. Rubin continued to be enchanted with Arab and Jewish fisherman throughout the years. He depicted them on canvas spreading their nets into the waters of the Sea of Galilee, along the shores of the Mediterranean, or proudly displaying their catch with their families by their side. Goldfish Vendor late 1920s, one of his most famous, in the collection of The Jewish Museum in New York. What sets this painting apart from similar fishermen images was the single goldfish that had just been removed from the water and was flopping in the fisherman's hand. It is a typical Rubin work from the in its naïve depiction and style: the rounded forms, the flowing contours and the bright colours. Rubin, Goldfish Vendor, late 1920s, Jewish Museum New York His paintings from the 1920s were defined by a modern and naive style, portraying the landscape and inhabitants of Israel in quite an emotional manner. Then his style changed during the late 1920s and early 30s, from the naïve to an impressionist style. While other pre-State painters had to either earn their living as teachers, or to paint and live in poverty, Reuven Rubin was able to live entirely from his art. His paintings fetched high prices and were especially popular among wealthy American collectors. In particular there was very high demand for his landscapes paintings: The Orange Pickers, Road to Safed, the Road to Jerusalem, Tiberias and The Galilee. Rubin, Ramparts of Jerusalem, 1924, Sotheby's Was Rubin specifically attempting to create an indigenous style of art? Perhaps the modernising, Israelifying tradition had always been with the early Jewish settler-artists of Israel, from the early Bezalel School in Jerusalem (founded in 1906). Certainly these young artists were eager to find a new artistic language through which their unique experience could be expressed. But eventually the young Bezalel artists rebelled against their academic teachers and went to Paris in the 1920s. Reuven Rubin was one of the most important artists who reacted against Bezalel’s classic Western orientation. Instead of 19th century Orientalism, Rubin and his colleagues drew everyday visions of the Near East in a modernistic style. It was said that Rubin’s paintings in the 1920s-1930s era retained a naive style reminiscent of Henri Rousseau. Rousseau's innocence matched the need to return to basics, because Rubin felt his generation were exiles returning to their ancient land, rediscovering its landscape and remodelling its culture. Rubin might have incorporated Rousseau's influence but I think he was even more impressed with Cezanne. Rubin, Safed in the Galillee, 1927, Sotheby's Rubin’s paintings focused on the landscape and life of Israel, but they were not fantastical. His landscape paintings in particular paid special detail to a spiritual, translucent light. It was clear that he had a great devotion to his people, his country and his religion. He may have been Romanian educated and French trained in art, but he became the distinctively Israeli artist! Rubin put forward two of the losing designs for a national flag, just before Israel became a state in 1948. And he served as Israel's first ambassador to Romania, from 1948-1950. This was totally appropriate for the young man who had left his parents and homeland back in 1912. In Bialik St Tel Aviv, see that some of the old houses, combining European and Middle Eastern tastes, have been restored. Reuven and Esther lived here and were friendly with Jascha Haifetz, Chaim Nachman Bialik, Leonard Bernstein, Arthur Rubinstein, Isaac Stern, Edward G. Robinson, Ira Gershwin etc who dropped in on them, either in Tel Aviv or on their New York visits. Their Rechov Bialik home and studio has since became The Rubin Museum. That studio is left just as it was on the day Rubin died in 1973, at the age of 81. Canvases being worked upon still lean on two easels. Everywhere pots and vases remain, filled with brushes. Mounds of hardened oil paints cover the palettes. Rubin had bequeathed his home and a selection of paintings to the city of Tel Aviv a month before his death. This article was first written as a guest post for The Romanian Way Rubin’s Tel Aviv house, now a museum

¿Existe una persona capaz de ser el espía perfecto? Imaginen un universo al borde de una guerra en el que dos bandos se encuentran enfrentados. En una realidad donde los recuerdos y los pensamientos pueden ser alterados, una persona que por su propia naturaleza es incapaz de ser modificada debería ser el espía ideal. Pero nada será fácil y todo es posible cuando no puedes confiar en tu propia mente. Hoy quiero recomendarles Innombrable, de Caryanna Reuven, un thriller de ciencia ficción fascinante. «Eso era lo que era, quién era, su misma naturaleza, le, la, el agente IN.00. Innombrabre.00. Sin nombre. Imposible de ser renombrado, renombrada, renombrade. El, la, le primere agente de su tipo. También el, la, le únique». Esta es la historia de IN.00. La, el, le agente Innombrable.00. Una persona que constantemente se encuentra fluyendo, cambiando de apariencia, de género y de identidad. Que segundo a segundo va alterando su aspecto, sus pensamientos y sus sentimientos, asumiendo tantas identidades que es imposible llevar la cuenta. Esa capacidad de ir fluyendo constantemente le permite ser el, le, la espía perfecta en esa guerra fría que hay entre la Federación y la Unión. Dos bandos enfrentados que están al borde de una nueva guerra total que amenaza con acabar con todos. En ese universo creado por Reuven existen los renombradores, individuos con la habilidad de modificar tanto objetos como a personas si son capaces de conocer su nombre verdadero (menudo guiño más bonito). Aunque, en esta novela, los nombres verdaderos no funcionan como magia sino como ciencia. Por ejemplo, para renombrar a una persona necesitas conocer su ADN, pero también su historia, sus gustos, su personalidad y mucho más. Por eso, como IN.00 es un, une, una renombradora que vive fluyendo sin parar, no posee un nombre verdadero que le permita ser renombrada por alguien más. «Siempre empieza así, con los otros, con los diferentes. Con los que apenas pueden protestar. Luego poco a poco, el veneno se extiende como una infección hasta que todo cambia a peor». Para evitar que la Unión desate el caos, IN.00 es enviada por la Federación a un sistema donde una serie de extrañas desapariciones están teniendo lugar. Una misión que por riesgos que supone solo él, elle, ella puede realizar. Así, lo que empieza como una investigación más se va transformando en un juego de espías, intrigas y secretos que pondrán a prueba las capacidades únicas de nuestra protagonista y hasta su propia cordura. Por lo general, cuando leo voy haciendo anotaciones en una libreta. Por ejemplo, pongo el nombre de los protagonistas, su edad y algunos datos interesantes de sus descripciones, así que se podrían imaginar mi desorientación cuando en el inicio del libro se nos presenta a IN.00 con una, luego otra y después otra más de sus identidades. No sé en qué número de personalidad me di por vencida en anotarlas todas (pero fue pronto). Eso sí, aunque las primeras páginas pueden ser confusas vale la pena seguir leyendo y adentrarnos en ese universo cautivador y complejo creado por Reuven, porque allí nada es lo que parece. «Es fascinante cómo funciona la mente humana, cómo nos engañamos a nosotros mismos para fingir que todo está bien cuando en realidad no lo está». Espías, guerras, secretos, manipulación genética, clones… Innombrable, de Caryanna Reuven, es una novela de las que dejan huella. Con un, une, una protagonista que no para de fluir, de cambiar y que logra robarnos el corazón. Que nos habla de cómo el miedo al otro, al diferente, solo genera odio y es utilizado para manipularnos, dividirnos y sembrar el caos. Además, la autora trata con maestría temas como la identidad y la importancia de poder ser nosotros mismos con todas nuestras luces y sombras. Si están buscando una buena lectura para iniciar el 2022 dadle una oportunidad. ¿Han leído Innombrable? ¿Les llama la atención? Más reseñas de la autora: Proyecto Alfa Horizonte 6 I.O. Vitae

Reuven Rubin (Israel 1893-1974) Threshing in the Galilee (1923-1924) oil on canvas 72.5 x 60.5 cm

Found in the center of historic Tel Aviv you'll find the Rubin house turned art museum, displaying work of the famous Israeli painter who created his work here.

Lithograph Edition of 200 95x75 cm. 38x30

Released in 2013, on Vinyl and on label Kscope (KSCOPE958). Blackfield, — Blackfield II. Genre: Rock. Style: Alternative Rock

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Boy with bouquet, 1968 - Reuven Rubin (1893–1974)

Reuven Rubin was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovici (later Reuven Rubin) was born in Galaţi to a poor Romanian Jewish Hasidic family. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik, with whom he had shared a studio in Cernăuţi. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. The history of Israeli art began at a very specific moment in the history of international art, at a time of Cezannian rebellion against the conventions of the past, a time typified by rapid stylistic changes. Thus Jewish national art had no fixed history, no canon to obey. Rubin began his career at a fortunate time. The painters who depicted the country’s landscapes in the 1920s rebelled against Bezalel. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light. In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the biblical landscape, folklore and people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters. Rubin was among the formulators of the primitivistic trend in the Eretz Israel art of the 1920s, which, in the spirit of the Zionist revival, saw the East as a primal, innocent world. His primitive linoleum cuts from his early years in the country, influenced by Medieval, German Expressionist and Modern Russian art, constitute a break with his earlier work abroad. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem. That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater and other theaters. His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots.